...
>Perhaps my point is purely philosophical, at least with regards to the
>rhetoric involved, but I have to stick to my guns: Carbon is easy! I
It's easy for me but easy is a relative word. There are processes a lot
easier out there.
...
>I beg to differ, both of the demonstrations I referred to in my
>original post, Klaus Pollmeier and Al Strauss, were rather informal,
Klaus is a former student of mine and has translated 4 of my books. He
could make a carbon print with one hand tied behind his back!
>> At least one professional printer on this list tried carbon and then gave
>> it up. Can you come forward?
>
>Why should I. I have been making my living off of photography (both
I was referring to other people who make a pretty good living from
alt-photo printing.
>as a printer and a photographer) for over 25 years now. I consider
>alternative processes my hobby and heed John Ryder's advice to
>letterpress printers to avoid trying to make money off of it; you end
>up with no time to pursue you own interests because your always doing
>work for someone else.
Sad but so true. I envy those for whom photography (or certain aspects of
it) is a hobby.
>> Can anyone name *one* person making a decent living making custom
>> *monochrome* carbons? I certainly don't know of anyone.
>
>Money does not have anything to do with it. I did not say carbon was
>fast or efficient enough to compete in the commercial marketplace, I
>said it was easy. Though I suspect if handled properly, given all the
>hoopla about how long prints will last, somebody with the right
>marketing could make a living off of carbon.
You'd have to be a good salesman. I would guess that carbon transfer prints
would have to be at least 3 times more expensive (at the manufacturing
stage) than platinum prints. As a collector, I would certainly be willing
to pay more for a carbon print but most collectors wouldn't.
...
>> And then, if it is a little too hot in the room you will experience
>> frilling or reticulation, usually with the print that had the perfect
>> exposure... In the winter, you get air bubbles caused by warming up cold
>> water, especially with thick art papers. The list goes on and on...
>
>Sure, and it was obvious from the Josef Sudek show, The Pigment
>Prints: 1947-1954 at ICP last spring that Sudek was no "master"
>printer (even if he did do the transfers single handedly). Lots of
>frilling, uneven coats, dust, some bubbles, but the photographs - the
>end result of his work - were absolutely beautiful.
I didn't see the show and I was not aware that there were so many technical
problems with his prints. I tend to be very finicky myself so I don't know
if I would think so highly of his work.
Luis Nadeau
NADEAUL@NBNET.NB.CA
Fredericton, New Brunswick, Canada
http://www3.nbnet.nb.ca/nadeaul/